Statement

I am interested in the hyperreal, in the possibility that the mere image of a thing
can be of greater consequence than the thing itself. Few politicians would doubt the power of the
symbol to communicate a message, but as Baudrillard helpfully pointed out, the symbol is often
found floating weightless through space, totally detached from any fundamental reality. To that
end I like to think of my sculptural work holographically, as though it is the outward projection
of the interference zone between competing images and references, physical instances of concepts
that were hardly more than simulations in the first place.

A great deal of science fiction during the latter half of the 20th century
exhibits similar symbolic weightlessness, with sets constructed around equipment racks
designed after publicity photos from high-tech national labs, and actual defense
institutions closing the loop by commissioning supercomputers and other machines
that were designed to resemble science fiction films.

I fashion my work after this powerful modernist vortex but employ absurdity
as a foil to question the end-goal of the technology itself. However, I am
simultaneously committed to the authenticity of my simulations and employ
contemporary methods of fabrication to ensure that what appears to be real
is in fact real – to whatever extent it can be.